Waters was born in Baltimore, Maryland, the son of Patricia Ann (née Whitaker) (1924–2014) and John Samuel Waters (1916–2008), who was a manufacturer of fire-protection equipment.[2] His family were upper-middle class Roman Catholics.[3] Waters grew up in Lutherville, Maryland, a suburb of Baltimore. His boyhood friend and muse Glenn Milstead, later known as Divine, also lived in Lutherville.[4]

The film Lili inspired an interest in puppets in the seven-year-old Waters, who proceeded to stage violent versions of Punch and Judy for children's birthday parties. Biographer Robrt L. Pela says that Waters' mother believes the puppets in Lili had the greatest influence on Waters' subsequent career (though Pela believes tacky films at a local drive-in, which the young Waters watched from a distance through binoculars, had a greater effect).[5]

Cry-Baby was also a product of Waters' boyhood, because of his fascination as a 7-year-old with the "Drapes" then receiving intense news coverage because of the murder of a young "drapette", coupled with his awed admiration for a young man who lived across the street and who possessed a hot rod.[6][7]

Waters' first short film was Hag in a Black Leather Jacket. According to Waters, the film was shown only once in a "beatnik coffee house" in Baltimore, although in later years he has included it in his traveling photography exhibit.[citation needed]

Waters enrolled at New York University (NYU). The school, however, was not what Waters had in mind:

"NYU...I was there for about five minutes. I don't know what I was thinking about. I went to one class and they kept talking about Potemkin and that isn't what I wanted to talk about. I had just gone to see Olga's House of Shame. That was what I was more into."[citation needed]

"I was always drawn to forbidden subject matter in the very, very beginning. The Wizard of Oz opened me up because it was one of the first movies I ever saw. It opened me up to villainy, to screenwriting, to costumes. And great dialogue. I think the witch has great, great dialogue."[9]

Waters' early campy movies present exaggerated characters in outrageous situations with hyperbolic dialogue. Pink Flamingos, Female Trouble, and Desperate Living, which he labeled the Trash Trilogy, pushed hard at the boundaries of conventional propriety and movie censorship. A particularly notorious scene from Pink Flamingos, added as a non sequitur to the film's end, featured—in one continuous take without special effects—a small dog defecating and Divine eating its feces.[citation needed]

In 2008, Waters was planning to make a children’s Christmas film called Fruitcake[11] starring Johnny Knoxville and Parker Posey.[12] Filming was planned for November 2008,[13] but it was shelved in January 2009.[14] In 2010, Waters told the Chicago Tribune that "Independent films that cost $5 million are very hard to get made. I sold the idea, got a development deal, got paid a great salary to write it—and now the company is no longer around, which is the case with many independent film companies these days."[15]

Since the early 1990s, Waters has been making photo-based artwork and installations that have been internationally exhibited in galleries and museums. In 2004, the New Museum in New York City presented a retrospective of his artwork curated by Marvin Heiferman and Lisa Phillips. His most recent exhibition was Rear Projection in April 2009, at the Marianne Boesky Gallery in New York and the Gagosian Gallery in Los Angeles.[16] Waters has been represented by C. Grimaldis Gallery in Baltimore, Maryland, since 2002.[17]

Waters' pieces are often comical, such as Rush (2009), a super-sized, tipped-over bottle of poppers (nitrite inhalants) and Hardy Har (2006), a photograph of flowers that squirts water at anyone who traverses a taped line on the floor. Waters has characterized his art as conceptual: "The craft is not the issue here. The idea is. And the presentation."[18]

Waters is a bibliophile, with a collection of over 8,000 books. In 2011, during a visit to the Waters house in Baltimore, Andrew Edgecliffe-Johnson observed:

Bookshelves line the walls but they are not enough. The coffee table, desk and side tables are heaped with books, as is the replica electric chair in the hall. They range from Taschen art tomes such as The Big Butt Book to Jean Genet paperbacks and a Hungarian translation of Tennessee Williams with a pulp fiction cover. In one corner sits a doll from the horror spoof Seed of Chucky, in which Waters appeared. It feels like an eccentric professor's study, or a carefully curated exhibition based on the life of a fictional character.[19]

Waters has had his fan mail delivered to Atomic Books, an independent bookstore in Baltimore, for over 20 years.[20]

Puffing constantly on a cigarette, Waters appeared in a short film shown in film art houses announcing that "no smoking" is permitted in the theaters. The 'No Smoking' spot, starring Waters, was directed by Douglas Brian Martin and produced by Douglas Brian Martin and Steven M. Martin along with two other short films, for the Nuart Theatre (a Landmark Theater) in West Los Angeles, California, in appreciation to the theater for showing Pink Flamingos for many years. It is shown immediately before any of his films, and before the midnight movie showing of The Rocky Horror Picture Show. Waters has since quit smoking himself.[citation needed]

With the motif "My life is so over-scheduled, what will happen if I give up control?", Waters completed a hitchhiking journey across the United States from Baltimore to San Francisco, turning his adventures into a book entitled Carsick.[22] On May 15, 2012, while on the hitchhiking trip, Waters was picked up by 20-year-old Myersville, Maryland, councilman Brett Bidle, who thought Waters was a homeless hitchhiker standing in the pouring rain. Feeling bad for Waters, he agreed to drive him four hours to Ohio.[23]

The next day, indie rock band Here We Go Magictweeted that they had picked John Waters up hitchhiking in Ohio. He was wearing a hat with the text "Scum of the Earth".[24] In Denver, Colorado, Waters reconnected with Bidle (who had made an effort to catch up with him); Bidle then drove him another 1,000 miles (1,600 km) to Reno, Nevada. Before parting ways, Waters arranged for Bidle to stay at his San Francisco apartment: "I thought, you know what, he wanted an adventure, too ... He's the first Republican I'd ever vote for."[22]

Bidle later said: "We are polar opposites when it comes to our politics, religious beliefs. But that's what I loved about the whole trip. It was two people able to agree to disagree and still move on and have a great time. I think that's what America's all about."[22]

In 1999, Waters was honored with the Filmmaker on the Edge Award at the Provincetown International Film Festival. In September 2015, the British Film Institute ran a programme to celebrate 50 years of Waters films which included all of his early films, some previously unscreened in the UK. Waters also programmed a side-bar including six of his favourite British films and took part in an on-stage interview with BFI season curator Justin Johnson.[citation needed]

in 2014, Waters was nominated for a Grammy-award for the spoken word version of his book, Carsick. His followup record, Make Trouble, was produced by Grammy-winning producer, Ian Brennan, and released on Jack White's Third Man Records in the fall of 2017.[25]

Waters was a great fan of the music of Little Richard when growing up. Ever since having shoplifted a copy of the Little Richard song "Lucille" in 1957, at the age of 11, Waters asserted, "I've wished I could somehow climb into Little Richard's body, hook up his heart and vocal cords to my own, and switch identities." In 1987, Playboy magazine employed Waters, then aged 41, to interview his idol, but the interview did not go well, with Waters later remarking: "It turned into kind of a disaster."[31]